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Updated: September 5, 2025
Whatever pressure is exerted by the expiratory muscles must be almost counterbalanced by the opposed action of the muscles of inspiration. The more powerful the blast, the greater must be the exertion by which it is controlled. In this way the singer may have perfect control both of the speed and of the strength of the expiration."
The vibrations of the vocal bands are caused solely by the expiratory current of air, which is more or less held back by the cords, owing to their approximation, so that the greater the obstruction the stronger must the blast of air be, other things being equal, and the result increase in pitch. The problem Nature had to solve is very complex.
In this condition the expiratory muscles may be very violently contracted, and still no air will escape; indeed, the greater the strength exerted the tighter is the closure of the glottis.
As the expiratory blast is so important in voice-production, the exercises above recommended should be followed by others in which this principle is specially recognized. Inspire so as to fill the chest to the fullest with considerable rapidity; then allow the breath-stream to pass out with the utmost slowness.
The basic sensation of correct singing, as generally described, is a feeling of perfect poise and harmony of the whole body; this is accompanied by a sense of freedom about the throat and jaw, and firm grasp and control of the expiratory muscles. Attempts are frequently made to amplify this description, but the results are always very vague.
The vocal bands are not wholly free throughout their length, like the strings of a violin, nor do they bear any great resemblance to the reed of such an instrument as the clarinet, but as in the latter the force causing the vibrations is a blast of air. We have already pointed out that the vocal bands are set into vibration solely by the expiratory blast of air.
Direction of Pull of the Lateral Crico-Arytenoids, which adduct the Vocal Cords. In whispering, the larynx takes scarcely any part in the production of the sounds; the vocal cords remain apart and comparatively slack, and the expiratory blast rushes through without setting them in vibration. In stammering, spasmodic contraction of the diaphragm interrupts the effort of expiration.
The tone is ushered in by a slight explosive sound, which is nothing but the well-known stroke of the glottis. So long as the expiratory pressure is steadily maintained, this tone may be held, and yet no strain is imposed on the vocal cords. Perfect control of the breath is thus attained.
Every singing bird, every animal whose vocal mechanism consists of lungs and larynx, illustrates the same mechanical principle of vocal action. Only passing mention is required of the fallacy of the breath-band theory. The idea of any necessity of relieving the vocal cords of the expiratory pressure is purely fanciful.
If, in the course of abdominal operations, rough manipulations of the parietal peritoneum be made, there will be frequently observed a marked increase in the respiratory rate and an increase in the expiratory force which may be marked by the production of an audible expiratory groan.
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